in its definition, which was to cause delight, was of consequence destroyed.
'In their comedies, the Romans generally borrowed their plots from the Greek poets; and theirs was commonly a little girl stolen or wandered from her parents, brought back unknown to the city[1], there [falling into the hands of] some young fellow, who, by the help of his servant, cheats his father; and when her time comes, to cry,—Juno Lucina, fer opem,—one or other sees a little box or cabinet which was carried away with her, and so discovers her to her friends, if some god do not prevent it, by coming down in a machine, and taking[2] the thanks of it to himself.
'By the plot you may guess much of the characters of the persons. An old father, who would willingly, before he dies, see his son well married; his debauched son, kind in his nature to his mistress[3], but miserably in want of money; a servant or slave, who has so much wit to strike in with him, and help to dupe his father; a braggadocio captain, a parasite, and a lady of pleasure.
'As for the poor honest maid, on whom the story is built, and who ought to be one of the principal actors in the play, she is commonly a mute in it: she has the breeding of the old Elizabeth way, which was[4] for maids to be seen and not to be heard; and it is enough you know she is willing to be married, when the fifth act requires it.
'These are plots built after the Italian mode of
